


The Death Concerto

by calicomary



Category: Daredevil (TV)
Genre: Classical Music Theory, Contract Law, Fluff and Angst, Ludwig van Beethoven - Freeform, M/M
Language: English
Status: Completed
Published: 2017-09-16
Updated: 2017-10-22
Packaged: 2018-12-30 15:31:22
Rating: Teen And Up Audiences
Warnings: No Archive Warnings Apply
Chapters: 20
Words: 8,829
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/12111765
Author URL: https://archiveofourown.org/users/calicomary/pseuds/calicomary
Summary: Matt Murdock has a one night stand with a local classical music celebrity and then things get out of hand, legally speaking.





	1. Meet Cute

**Author's Note:**

> Welp, as happens an idea got stuck in my head and I had to start writing it. I hope you find it entertaining, I know I like thinking about it.  
> Fair Warning: I don't like to write sex scenes so I don't. If you're looking for smut you've found the wrong room.

It’s the sound of a piano that draws Matt into the bar. It’s out of tune, but whoever is playing it is able to dance around the keyboard to make it sound right, playing a classical melody so popular that even Matt knows it by name.: The Moonlight sonata. He navigates his way slowly toward the sound, having had a bit too much to drink already at Josie’s.  
Once his cane hits the leg of either the piano or the piano bench, Matt comes to a standstill. He registers the way the player notices his presence by a slight change in the man’s breathing, a brief hitch that is gone the moment it arrives. Whoever this guy is, he is good. A professional pianist, even though Matt knows the piano at this bar is one of those “anyone can play” public art pieces. Matt lets himself be drawn into the slow rhythm of the piece, it’s simple chord progressions almost hypnotic.

“You know who wrote this?” the pianist says softly.

“Mozart,” Matt says equally soft. It’s a guess.

The pianist chuckles. “No, I’ll give you an A for effort though,” he said. “It was Beethoven actually. Nowadays everyone calls it the Moonlight sonata, but the real title is ‘Piano Sonata number 14: in the style of a fantasy’ which sounds a lot less romantic. I won’t bore you with the details,” he trails off as he loses himself in his playing. 

Matt gets lost tracking the light tapping of fingertips against synthetic-ivory keys, the actual tones from the strings falling into background noise. Suddenly yet expectedly, the pianist pulls his hands away from the keyboard. Matt opened his mouth to say something but is cut off as the pianist breaks into another tune, this one much more lively than the somber notes from before.

Again, the pianist begins to talk over his own playing, “Very few people realize that this is also from the Moonlight sonata. The rondo is much more conventional than the opening and closing movements. Just enough of the familiar for critics of the time to find redeeming value in a very unconventional piece.” 

Matt nods because he’s expected to, then says “I’m not gonna lie, I don’t know much about classical music. I didn’t know sonatas had more than one movement.”

The pianist shrugs loosely and Matt heard the jingle of a necklace rustling under the man’s shirt, “As long as you’re listening, that’s all I care about. Hang onto that stick, I’m about to blow your mind.” The pianist’s breath quickens as he bursts into much faster playing. It almost sounds modern, like heavy metal. The speed and quick paced transition from soft to loud often catches Matt off guard in a pleasant, non-threatening, exciting kind of way. The pianist finishes on a LOUD chord and Matt hears a snap.

“Shit!” The pianist jumps up and Matts hears a thunk. The pianist has opened the hood of the piano. “Broke a hammer. Typical.” He turns to face Matt and Matt tastes the other man’s sweat (and more than a hint of Wild Turkey) in the air between them.

“I’m Jake,” the pianist introduced himself.

Matt smiles at him, “Matt.”

“You wanna get out of here Matt?” Jake asks, “Maybe go somewhere a little more private.”

“Wow! Coming on strong,” Matt says.

Jake laughs again and says, “What can I say. You’re attractive and you’ve got an ass that won’t quit. Plus, you stayed for the whole sonata. So, I refer to my earlier question.”  
Matt considers his options. Go home and be alone. Or get laid. “Yeah, let’s get out of here. My place or yours?”

“I’m not gonna lie,’ Jake says as he brushes past Matt to lead the way out the door, “My place is not what you would call accessible right now.”

“Cluttered?” Matt asks.

“Beyond cluttered,” Jake answers, “I can see where everything is and I still trip over it all the goddamn time.”

“So, we’ll go to my place then,” Matt concludes. This time he brushes by Jake and let his free hand linger briefly at the small of Jake’s back. Jake leans back into his hand and Matt grins.


	2. Later that night

**Notes for the Chapter:**

> One of my aforementioned not-sex scenes.

“Hey,” Jake says, after a mostly silent but touch-filled walk back to Matt’s apartment. “Can I kiss you?”

Matt almost fumbles the key as he slides it into the door lock but his muscle memory is too acute for such a minor slip-up, “Is that a serious question?” he asks.

Matt hears skin rubbing against skin with an undertone of fine hair and figures that Jake must have been rubbing the back of his neck sheepishly. “I just, I don’t want to surprise you or …” Jake mumbles, trailing off uncertainly.

“Kissing is fine,” Matt says quickly, wanting to reassure the other man as much as possible. “Kissing is fantastic, I love it.” He steps over the threshold and waves his hand in a welcome gesture and again relished the feel of Jake brushing, and teasingly lingering, by Matt. Jake’s body temperature is running high and Matt wonders if that’s a chronic condition or simply due to Jake’s arousal. “The bedroom is this-“ he’s cut off by Jake lunging in to capture Matt’s mouth in a kiss. Matt does get a bit lost after that.

It’s not the best sex he’s ever had, but it is good. Jake is surprisingly attentive. Matt doesn’t think he’s ever had someone narrate the act of fucking quite as thoroughly as Jake had. Matt wonders if Jake has fucked a blind guy before. There had been a moment that almost killed the mood, has Matt was skating his hand up Jakes naked back, his fingers skipped over jagged scar tissue. It was 6-7 inches long and Jake froze instantly.

“You don’t have to,” Matt started to say

“Car accident. It was…I’m ok now, though,” Jake began to move again and things progressed intensely. Matt made sure not to linger on any other scars he felt.

Now, 45 minutes later with the other man sleeping (and grinding his teeth) by his side, Matt wonders what Jake thought of his own scars.


	3. The Deposed Knows

**Summary for the Chapter:**

> This is where things start to get legally complicated.

**Notes for the Chapter:**

> The tag for bad lawyering doesn't mean Matt is a bad lawyer. It means I don't know anything about the law or legal processes so please suspend your disbelief.

The night is still chill from the lack of sunlight when Matt wakes up. It must be relatively early. He hears Jake hopping around on one foot, trying to get his pants back on.

“Shit! Goddamn. Just get it--”Jake breaks off his mumbling as he finally gets the other pant leg on.

“You gonna leave me your number or just the memories?” Matt asks playfully.

“Aw, sorry, didn’t mean to wake you up,” Jake says.

“It’s fine, I’m an early riser anyway, “Matt pushes himself up against the headboard and listens while Jake buttons up his shirt.

“You really want my number?” Jake asks.

“What can I say? You’ve got a nice smell and ass that won’t quit,” Matt says with a grin. “Plus, you played me a whole sonata.”

“You sure you don't know about classical music?" Jake asks. Matt doesn't know how to respond to that so he doesn't. "Ok um, where’s you’re phone?” Jake asks then answers himself, “Oh there it is.”  


Matt picks his phone up from the nightstand, where he always leaves it. He holds the phone to his mouth, “Menu. Contacts. Add new contact. Name. Jake. Phone number…” Matt holds the phone out, “Just say your number.”

Jake leans over and Matt registers his unusually high body temperature again. Maybe a low grade fever? Nothing smelled off about him though. “440-879-7761.” Jake hovers over Matt for an absurdly long moment before leaning in for the most gentle kiss he’s given.

“So where do you have to go so early in the morning?” Matt asks.

Jake groans, “Ugh work. Well, rehearsal. Then I have to meet a lawyer about a deposition and then more rehearsal.” 

Matt tilts his head, “What’s the deposition for. If you don’t mind my asking.”

Matt feels the way the air shifts when Jake sways back and forth, “It’s like this worker’s compensation thing,” Jake says.

“Worker’s compensation doesn’t usually require a deposition. I don’t mean to pry but it’s kind of in my wheelhouse,” Matt says, sitting up fully and leaning forward on his knees. 

“Well,” Jake says as he rubs the back of his neck. It must be a nervous tick. “I’m having a kind of disagreement with my employer about contract stuff so I have to get deposed.”

“And you’re going to meet your lawyer to prep for it,” Matt concludes with a nod.

“What? No, he’s not. He’s not prepping me for it. He’s not my lawyer. He’s just like, mediating the whole thing,” Jake says.

“Oh. Ok,” Matt says as he weighs his options. How involved does he really want to get with this guy? Still, it would be cruel to let a defenseless piano player walk into a deposition with no legal advice, “Don’t go to the deposition.”

“What? Why?” Jake asks incredulously.

“Because that lawyer is not going to mediate. He’s going to make sure that your employer gets everything they want and you don’t get anything you want,” Matt says. 

“What makes you so sure he’s on their side?” Jake asks.

Matt answers the question with another, “Who signs his paycheck, you or your employer?”

**Notes for the Chapter:**

> I don't know if that is actually how visual assistance on cell phones works. If there are any blind readers out there please correct me so I can fix it because my google-fu was not strong enough.


	4. The Best Defense is a Good Lawyer

**Summary for the Chapter:**

> To lawyer up or not to lawyer up.

**Notes for the Chapter:**

> I played a trick with Matt's phone number.

“So you’re saying I should just blow the deposition off?” Jake asks. It sounds like he’s about to rub the hair right off the back of his neck.

“Ah, no,” Matt says as he gets out of bed and starts to get dressed. “If you blow it off, you’ll incur charges from the other party to cover their attorney’s fees. Were you subpoenaed?”

“No,” Jake says, “We just agreed to meet today at 1 o'clock.”

Matt nods and goes to grab a shirt out of his closet, “Good,” he says. “If you haven’t been served you can’t be found in contempt.”

Jake begins to pace and Matt hears his heart rate pick up. “Wait, wait, wait!” Jake says. "How do you know all this stuff.”

“I told you it’s in my wheelhouse. I’m a lawyer,” Matt says.

“No way you’re a lawyer,” Jake says.

Matt frowns. It would be just his luck to pick up some ableist asshole, “What makes you think I’m not?” he asks.

“Because I don’t have that kind of luck,” Jake says simply. “I’m not the kind of guy who can go get trashed at a bar to avoid dealing with a serious legal problem and then pick up a really good looking lawyer.”

Matt doesn’t quite know what to say to that. He settles on, “Maybe it’s not luck. Like I was saying, you won’t be found in contempt of court if you don’t appear. But it is good practice to give notice. Do you have the lawyer’s number?”

Jake nods and says, “Yeah.”

“Call him, tell him you need to postpone so you can talk with your lawyer,” Matt says as he loops a tie around his neck.

“But I don’t have a lawyer,” Jake says. “I mean…thanks for the advice but I have other bills, you know? I can’t afford.”

“First, this is just a phone call you’re making. He’s probably not even at the office and it will go to voicemail. Second, I’m not your lawyer yet. Third, I’m a sucker for pro bono work.” Matt says with a smile. “Dial the phone.”

Jake heaves a sigh as he pulls his phone out of his pocket Matt listens as the voicemail message starts _You’ve reached the office of Nathan Silver, attorney at law. I’m currently away from my desk but will return your call at my earliest convenience. Please leave a message _.__

 

 

The air is silent while Jake doesn’t speak for 5 seconds. Then he says, “Hi Nate, it’s uh. This is Jake. I’m calling because I uh, I know we have the thing today and I…”Jake trails off again.

“Press the pound sign and then the number one,” Matt says.

Jake yanks the phone away from his ear to follow the directions. An automated voice comes on _Please re-record your message. At the end of your message, press one to send._ Matt gestures for Jake to hand him the phone.

 

 

“What’s your last name?” Matt asks.

“Epstein,” Jake stage whispers.

“This is Matthew Murdock, attorney at law, calling regarding my client, Jacob Epstein’s deposition today. He will not be able to attend due to my need to review the case with him prior to any deposition. You can reach me at 212-327-3385. Thank you.” Matt hands the phone back to Jake.

**Notes for the Chapter:**

> I could have asked my lawyer friends about this stuff but I didn't because I don't want them to know I write fanfiction so I just googled legal advice.


	5. When Lawyer Met Client

**Summary for the Chapter:**

> Calicomary pretends to know about contract law and wastes time.

“Wow,” Jake says after he ends the call. “Has anyone ever told you that your lawyer voice is really sexy.”

Matt laughs, “My lawyer voice?” he asks. “Do I really have a lawyer voice?”

“Totally, I can tell. So…are you my lawyer now?” Jake asks.

“That would seem to be the case. Speaking of cases, what documents do you have readily available? I definitely need to read that contract and also any notices you may have received citing a breach of contract,” Matt says.

“Yeah, I got a bunch of papers in my office at the Hall,” Jake says, “I’ll get them after rehearsal.”

“What Hall?” Matt asks.

“David Geffen Hall,” Jake says.

“Who was your employer again?” Matt asks. He’s pretty sure that question should have come earlier in the conversation.

“The New York Philharmonic Orchestra. I’m the musical director and the board wants to fire me,” Jake says simply, though Matt can hear his heart start to pound. 

Matt reaches out to lay a comforting hand on Jake's shoulder, “Well we won’t let them. You were planning to take a break during your rehearsal for the deposition, right?” Matt asks. 

Jake nods and says, “Yeah. You want to come meet me there, or I can go to your office, whichever is easier.

“Are you kidding?” Matt asks, “I’ve always wanted to go backstage at David Geffen Hall.”

**Notes for the Chapter:**

> Super short chapter is super short. I was gonna try pretend that Matt's excuse for going to David Geffen Hall was that he'd never been there before but it's like, right next door to Hell's Kitchen (figuratively speaking).


	6. Two Lawyers Walk Into a Law Firm. There is No Punchline.

**Summary for the Chapter:**

> The most italics-heavy chapter yet!

Matt spends his walk to the office putting together a list of case law to research. He also needs to start preparing Jake yesterday if the other man’s attempt at a straightforward voicemail was anything to go by. The first thing Matt does when he gets in the office is plug in the phone and dial from his cell to make sure it still rings. It does.

A few hours later, he is interrupted by the sound of a man walking down the outer hallway. He knows he’s the only office in this building open on Thursdays, so the man must be here to see him. Probably a courier. A knock at the door. Matt weighs answering, then decides he would be a bad lawyer if even _he_ was trying to avoid a subpoena. Still.

Matt opens the door and says, “Can I help you?”’

“So, you're  _that_ Matt Murdock,” The other man says. He pushes his way inside and Matt stops himself from breaking the other man's arm. “I’m Nathan Silver, you left me a voicemail at 4 in the goddamn morning.” Mr. Silver does not put his hand out to shake.

“Mr. Silver, I don’t think it’s very appropriate to just storm into my office without scheduling a meeting,” Matt says sternly, “I’m actually quite busy right now and I’m afraid I don’t have the time to-“

“Last time I checked, the Foundation didn’t have the resources to spend on a lawyer for Jake,” Mr. Silver says.

Matt tilts his head and bites his tongue from asking _what Foundation_. Instead he says, “I’m in private practice, and I have several clients I need to attend to today. If you’re not here to-”

Mr. Silver pulls a document out of his briefcase, “I could have had a courier bring this but I needed to see what kind of man you are,” he says as he holds it out to Matt, “Here is a copy of the contract that's under dispute. I didn’t think you were actually the blind one so it’s not in braille. Sorry. Also, I rescheduled the deposition for Monday at noon. Don’t make me get a subpoena.” Matt reaches out to take the paper and Mr. Silver adds, “I hope you understand that I’m really just trying to do what’s best for Jake.”

Matt finds that hard to believe. “Are you trying to do what’s best for Jake or what’s best for the New York Philharmonic?” Matt asks.

A grin slides into Mr. Silver’s voice, “Believe or not, what’s best for Jake _is_ what’s best for the New York Philharmonic and vice versa,” he says. “Once you get to know your client, you’ll realize that.”

**Notes for the Chapter:**

> I'm literally just googling phrases I've heard in lawyer shows to figure out how I can put them into a sentence.  
> Thanks to everyone who has left Kudos and those who have left comments.


	7. Beethoven in the City

**Summary for the Chapter:**

> Meanwhile back at David Geffen Hall!

**Notes for the Chapter:**

> Thanks again for the all the kudos and comments. It's great to see that other people are also curious about what Lawyer Matt gets up to when he's not living out comic book story lines.

The walk to David Geffen Hall becomes more entertaining when he starts to hear the rehearsal several blocks away. He can tell one of the musicians is late for rehearsal because Jake is singing the part instead. Matt smiles, imagining what it must sound like to be inside the hall with Jake’s off key voice echoing around the room.

As Matt approaches the front entrance, so does a woman carrying a large case which holds one of those funny looking instruments that Matt never learned the name of.

“Excuse me,” Matt says. The woman turns to face him.

“Can I help you?” She asks.

“I hope so," Matt says and puts on charming smile number 3, “I’m here to meet Jacob Epstein. I’m Matt Murdock, his attorney.”

“His attorney?” the woman asks in surprise, “I thought the Foundation wasn’t gonna get him a lawyer.”

 _What’s the Foundation?_ Matt doesn’t ask. “Could you lead me to his office?”

“Sure,” The woman says. She maneuvers her case around so she can hold her arm out, “You wanna take my elbow or whatever?” Matt does take her elbow and she guides him down several hallways and some narrow stairs. She abruptly yanks her arm out of his grasp and breaks into a run, shouting behind her, “On the left, the door’s always open. I’ll tell him you’re here.”

Matt debates following her so he can get an even closer listen to the rehearsal but his more responsible side wins out and he enters Jake's office. After taking in the room with one sweep, Matt determines that Jake is the most disorganized person he has ever met.

There is no actual desk in the office, just a grand piano with the hood shut and reams of paper strewn across it. There are 4 boxes stacked in the back corner along with two bicycles and a unicycle. A violin hangs on the left wall above a sculpture. The small bookshelf is only half full because several books are stacked on the only chair besides the piano bench. That bench also has a stack of books settled precariously on it. There are a pillow and blanket on the sofa against the right wall. There are multiple items on the floor that Matt doesn’t feel like categorizing. There is also a smell that Matt doesn’t feel like categorizing.

Matt slowly spins around trying to figure out where to set up shop. He goes with what seems to be the safest option, the sofa. The music stops and Matt eavesdrops.

“Well, look at that!” Jake says. “We finally have the other half of our bassoons here and it’s not even noon. Welcome, Kaitlin, everyone is ecstatic they don’t have to put up with my singing anymore.”

“Sorry, Maestro,” Kaitlin says.

“If you’re late tomorrow you lose your chair,” Jake says.

Kaitlin sighs and says, “Yes, Maestro.”

“So, I’d like to do our first run through with the scherzo but Bobby, quick reminder,” Jake says.

“Yes, Maestro?” Bobby answers.

“While Beethoven’s 6th symphony is in the key of F major, the Adagio is in the key of B flat minor and your viola has been out of tune for the entire movement. Fix it,” Jake says.

This is the most in control that Matt has ever heard Jake sound and it’s kind of…sexy. But he needs to put that thought aside because if personal history has taught him anything, it is that romantic liaisons with clients end in disaster. Which Matt doesn’t like to think about because Jake really does smell nice. 

**Notes for the Chapter:**

> So, in addition to Jake, every member of the New York Philharmonic Orchestra in this story is a completely fictional character.


	8. Music Is In My Blood!

**Summary for the Chapter:**

> Matt and Jake discuss the case further.

**Notes for the Chapter:**

> I can't stopping thank y'all for the kudos and comments. They really mean a lot to this fanfic writer who prefers niche crossovers and obscure legal drama

Matt tunes back into the rehearsal intermittently (because the music, first run through or not, is unexpectedly distracting) as he reads about Nike’s suit against 3 designers for jumping ship to Adidas. It isn’t exactly applicable but he figures there must be some insight to be found in high profile cases for breach of contract. He also tunes into the gossip once Jake calls an end to the first half of the day’s rehearsal.

Kaitlin whispers to someone, “You said the Foundation wasn’t paying for a lawyer.”

“Yeah,” a man whispers back, “Those pendejos have no loyalty.”

“Well,” Kaitlin says, “There’s a lawyer in his office right now who says Jake is his client. Isn’t the deposition today?”

“It was postponed,” another woman enters the conversation, “Nate’s super pissed about it.”

“Good,” says the man, “and it’s about time the Foundation put their weight behind him. It wasn’t just Jeremy doing all the fundraising.”

This situation with “the Foundation” is becoming distracting, too and Matt is 90% sure it has something to do with the board of directors’ push to remove Jake as musical director. He wonders if this “Jeremy” has something to do with it as well. His musings are interrupted when Jake bursts into the office.

“Heeeey, Matt. Sorry I wasn’t here earlier, I got distracted with a scherzo thing and the strings are giving me some drama about-well that’s not really important, right? Here, I got something for you,” Jake says as he goes to the piano and starts rifling through the many papers scattered. Once he finds what he was looking for, Jake hands it to Matt. “I couldn’t find my hard copy so I printed this other one.”

Immediately Matt can feel braille markings on the paper, “Where’d you get a braille printer?” he asks, genuinely puzzled.

Jake hems and haws for a moment before saying, “We had a guest violinist for Sibelius’ violin concerto two years ago. He was blind and he left his printer here.” Jake’s heart rate is at the level of what Matt would describe a fib. Jake isn’t telling the whole story.

Matt lays the contract to his side. “Before I read this,” he says, “I’d like you to give me a little background. How did you get to be the musical director here?”

“Well,” Jake says with a sigh as he collapses down next to Matt on the couch. He settles comfortably close and laughs to himself. “It’s a pretty simple story. I’m a 5th generation classical musician on my dad’s side and a 3rd generation general musician on my mom’s. I’ve been playing piano for literally as long as I can remember. I played my first solo piano concert with the New York Phil when I was 11. It was Mozart’s piano concerto number 1. I was the youngest performer they’d had outside of competitions. After I graduated from Juilliard, they recruited me to guest conduct the season opener, Beethoven’s symphony number 3. I toured for a while after that and then 2 years ago they offered me the position of musical director.” Jake goes silent for a minute. Matt waits. “8 months ago I was in a car accident and it…it had a big effect on me. …and I guess the board doesn’t like the musical direction I’ve been going in since then.”

Matt nods and says, “Ok. Give me a few minutes while I look this over. I’ve already had a visit from Nathan Silver, by the way. He seemed to think I had been hired by some Foundation.” Matt leaves the question implied.

Jake sighs again and leans his head back, “I don’t know why people think they would pay for a lawyer for me. The Foundation has bigger fish to fry than protecting my career.”

“What Foundation is it?” Matt asks.

Jake is silent.

Matt pushes, “If we’re going to win this thing, I need you to be completely honest with me.”

“You’re gonna think I’m an asshole when I tell you,” Jake says.

Matt grins and says, “I find that hard to believe but I’ll reserve judgement.”

Jake waits a beat longer before blurting out, “It’s the Foundation Fighting Blindness.”

**Notes for the Chapter:**

> Yay for backstory! I highly recommend all pieces referred to in this chapter, but especially the Beethoven symphonies.


	9. Ghosts of Violinists Past

**Summary for the Chapter:**

> Jake and Matt discuss the case

**Notes for the Chapter:**

> This one might be a little dry...with a dash of music history.

Matt has to wait a few seconds to let it sink in. The Foundation Fighting Blindness. “Did you?” He starts to ask. “Did you fuck me because I’m blind.”

“No!” Jake’s denial is vehement. “I swear, I was gonna sleep with whoever stayed through the whole sonata, which, yes, is also kind of an asshole thing to tell you.”

Matt pushes any lingering resentment about Jake’s intentions to the side. He wouldn’t be the first person Matt had met who got off on his disability. There are more important things at stake than Matt’s hurt feelings, “Ok,” he says. “Well, on the topic of last night, I think it’s best if we leave that in the past.”

“Yeah,” Jake says. “It’s an ethical thing, right?”

“Right,” Matt says with a nod, “So. Give me a few minutes but I may ask some other questions.”

“Sure,” Jake says. 

As Matt reads, the picture becomes a little clearer. The board had set down expectations regarding what kind of material they wanted performed each season, namely “innovative and boundary pushing.” Jake was expected to write a symphony or a concerto for any instrument to be performed at a yearly festival. But there was another person involved.

“The third party in this contract, Jeremy Leung,” Matt says, “Is the board of directors trying to get rid of him too?”

Jake huffs a mirthless laugh, “Yeah, kind of.”

“Alright, I’d like to talk to him,” Matt says.

“Good luck with that,” Jake says, “He’s six feet under,” he breaks off on the last word and heaves his next few breaths. It sounds like he’s on the verge of crying.

“I’m sorry to hear that,” Matt says a bit uncertainly. He wonders about the extent of Jeremy’s and Jake’s relationship. “I didn’t realize-“

“It’s ok,” Jake says roughly, trying to pull himself together. “That’s part of the…the dispute.”

“Yearly performances of Beethoven’s violin sonatas on…what’s a Beeethoven Broadwood?” Matt asks.

“It’s a, uh, well it was a birthday present,” Jake says.

“For you?” Matt asks.

“Ha, no. For Beethoven. A British piano-maker named Thomas Broadwood built a custom piano for Beethoven's 40th birthday, had a bunch of London composers sign it, and then he shipped it off to Vienna. Beethoven only composed with it for a few years but he kept it the rest of his life,” Jake explains.”

Matt wishes he knew more about classical music because then he wouldn’t be forced again to do his least favorite thing, ask a question he doesn’t know the answer to, “Why do you need a piano to play a violin sonata?”

“That’s pure Beethoven,” Jake says with false cheer. “Every one of his non-piano sonatas still seems to have a part for piano, anyway.”

“And the 1741 'Vieuxtemps” Guarneri del Gesu?” Matt asks.

“Jeremy’s violin,” Jake says.

Matt finishes reading the contract. “Okay,” he says, “Do you have a notice for the breach of contract?”

“Yeah,” Jake goes over to the piano again and pulls another document from it. He hands it to Matt and Matt makes much quicker work of this.

After thinking for a few minutes, Matt says, “We definitely have a few affirmative defenses here. It’s not enough to deny wrongdoing, we have to show that even if there was a breach of contract, there are mitigating facts or circumstances which render the breach claim moot.”

“Mitigating circumstances,” Jake repeats dully, “Like a dead violinist.”

**Notes for the Chapter:**

> Both instruments listed are totally real and being played as we speak. The violin by Anne Akiko Meyers and the Beethoven Broadwood by Andras Schiff.


	10. The 1741'Vieuxtemps Guarneri del Gesu

**Summary for the Chapter:**

> Matt and Jake talk some more because that's their favorite thing to do.

**Notes for the Chapter:**

> More backstory!

They sit in silence for several minutes before Matt says, “The deposition has been postponed until Monday.”

“Awesome,” Jake says. He pushes himself up from the sofa and walks over to the stack of boxes in the corner. He unstacks one and opens the box beneath it, then reaches inside and pulls out a case. “Wanna feel something cool?”

Matt smiles softly and says, “I’m not sure how to answer that question.”

“Relax. Put the papers down and hold your hands out,” Jake says as he comes to stand by Matt. He sets the case on the sofa beside Matt and opens it, pulling out the object inside. Matt wants to reach for it but holds still and waits for Jake to set the violin in his hands.

“It’s Jeremy’s violin, isn’t it?” Matt says. It’s lighter than he was expecting.

“It sure is. Wanna guess what it’s appraised at?” Jake asks.

“Why don’t you just tell me,” Matt says.

“15 million dollars, give or take,” Jake says.

“15 million dollars,” Matt repeats, trying to comprehend how some wood and string could possibly be worth that much money.

“I know what you’re thinking,” Jake says, “How could some wood and string possibly be worth that much money? Well, first of all, that’s 280 year old wood, it’s handmade, and it’s been well looked after. Secondly, it’s not the wood and string that’s so valuable. It’s the history. Every virtuoso who laid a hand on that violin put their blood, sweat, and soul into it. Smell it.”

Matt brings the violin to his nose and inhales. It does smell like sweat. And intestines. He pulls the violin away from his face and forces himself not to vomit.

“Jeremy hated playing it because he’s got a really sensitive nose and he says it smells like cow shit,” Jake says.

“So it’s not just me,” Matt’s says with a laugh. He holds the violin, “You should probably take this from me before I break it.” Jake takes the violin back and puts it in the case. He puts the case back in the box.

“They want the violin,” Jake says.

“Yeah, I read that too,” Matt says. “But you don’t want to give it to them. Why not? You’re not a violinist.”

“Because it’s mine! It was given to Jeremy on permanent loan and now it’s mine. And they shouldn’t get to take it from me just because, just because—“ Jake breaks off with a scream.

“They shouldn’t get to take it away from you just because your husband died,” Matt says.

Jake turns and leans back against the wall, “I thought I was being, like, really discreet and deceptive about that,” he says softly.

“I’ll give you an A for effort. And I don’t think you’re an asshole,” Matt says.

**Notes for the Chapter:**

> Thanks for the kudos and comments and reading.


	11. Chapter 11

**Summary for the Chapter:**

> They're still in the office, just wrapping up the conversation.

Matt stands and only says, “Jake,” before breaking off when he hears another man coming at a quick pace down the hall towards Jake’s office.

“Hey Jake,” It’s the man who called the Foundation Fighting Blindness a bunch of assholes. He’s carrying a violin, “Can we talk about Kaitlin? Oh, sorry. DIdn’t mean to disturb.”

“It’s fine,” Jake waves the other man in. “Gus this Matt Murdock, my lawyer. Matt this is Gustavo Fring, my concert master.”

“Nice to meet you Matt, you can call me Gus and I really hope you help Jake stick it to the board of directors. Jake, we need to talk about Kaitlin,” Gus says.

“She was two hours late, Gus,” Jake says as he starts putting books from the piano bench back onto the book shelf. Once done, he takes a seat at the piano. “I can’t let that kind of behavior stand.”

“You didn’t have to threaten her like that,” Gus says. “You know how sensitive she is.”

“Gus, I can’t have first chairs showing up to rehearsal two hours late on the day before the performance,” Jake says as he swings around and lifts the lid of the piano. “Actions have consequences.”

“I’m just saying,” Gus starts but Jake interrupts him.

“I know what you’re just saying. And you’re right, I shouldn’t have called her out in front of everyone. Please send my apologies,” Jake says. He puts his hands on the piano keys, “But tell her the threat stands.”

Gus sighs and leaves the room.

“I don’t suppose you can be this forceful during the deposition on Monday,” Matt says.

“I can try. It’s just that I know we’ll end up talking about stuff I don’t want to talk about and that makes me anxious. I don’t deal well with anxiety,” Jake explains.

“I can prepare you for that,” Matt says. He stands from the couch. “I think you have more important things to focus on right now. I’m gonna go back to my office because I still have a lot of legwork to do. Did Nathan Silver or the board offer you a payout to resign voluntarily?”

Jake is silent for a very long time. Finally, he says, “Yes.”

“Verbal or written? This is very important,” Matt says.

“Written,” Jake answers.

“And did you sign it?” Matt asks.

“No,” Jake says. “Nate says he has my best interests at heart. That I should just take the money and go transform my grief into beautiful music or whatever. But this, being the musical director of the New York Philharmonic, isn’t just my job. This is my calling and I can’t just resign. What kind of man would that make me?”

Matt smiles, “I wouldn't say being a lawyer is a calling exactly, but I think I do understand where you're coming from. I'll need a copy of that agreement, too. And don’t be too hard on Kaitlin. She would have been five minutes earlier if she hadn’t had to lead me down to your office.”

**Notes for the Chapter:**

> Grateful as always for the kudos and comments. special thanks to LachesisMeg for pointing out a very embarrassing typo.  
> Yes, Gus Fring is a reference but in name only.


	12. Interlude

**Summary for the Chapter:**

> It's really more of a transition. It's also short as fuck.

**Notes for the Chapter:**

> So, here is a little Classical music theory (pre-Romantic):
> 
> The sonata form is key to many multi-movement works and it is this.
> 
> A primary theme, set in the Tonic (home) key. The tonic key can be major or minor.
> 
> Development and transition into 
> 
> A second theme, if the Tonic Key is major then this theme will be in the dominant key which is five notes above; if the Tonic key is minor than this theme will be in the relative major which is 3 notes above.
> 
> Development and resolves into
> 
> A closing theme, back in the Tonic key.
> 
> This is followed by a recapitulation in the Tonic key of all three themes.

“You want to listen in on our rehearsal for tomorrow night?” Jake asks. “It’s Beethoven’s revolutionary 3rd symphony.”

“Yes, I really do,” Matt says as he extends his cane, “but I have this client who has a pretty serious deposition on Monday and I need to make sure he’s prepared. Could you show me to the door?”

“Sure,” Jake says. "I wouldn't want you to disappoint your client." They pass in silence up the stairs and then Jake stops. “Listen, I really can’t thank you enough for what you’re doing right now. So, thanks.”

“You’re welcome,” Matt says.

On the walk back to his office, he listens to the rehearsal anyway. It’s not what he was expecting. Some parts are downright uncomfortable for his ears and he wonders if it’s because the musicians are bad or if he just doesn’t like it.

Once he is back in his office he rereads all three documents Jake gave him twice then he gets back to researching case law.

**Notes for the Chapter:**

> Thanks for kudos, comments, etc. Especially all you anons and guests.


	13. The Death Concerto

**Summary for the Chapter:**

> Later that night and also the next morning.

Before he heads home for the night, Matt tries calling Jake to give him an update but the call goes straight to voicemail.

“Hey, it’s Matt. If you have some time tomorrow I’d like to meet so we can discuss our strategy for Monday. Give me a call when you get this message,” Matt says and has to force himself from re-recording the message so it sounds less lawyerly.

Later that night, as he is patrolling, he picks up on the Moonlight sonata again. Not usually one to get distracted during his night job, Matt still finds himself inadvertently making his way across rooftops on a hunch. Sure enough, at another public piano station he finds Jake playing. It seems he’s drawn the attention of someone else with his virtuoso performance. He isn’t completely surprised when Jake offers the same pickup line to this listener as had to Matt the night before. Still, it smarts that Jake really would have slept with anyone who had stuck around that night. Matt shakes the hurt off and moves on to stop a mugging, among other things.

It is the following morning when Matt first learns about the Death Concerto. He had set up a google alert for anything with Jake's name and found an article from the Omaha World Herald website announcing that the concerto was being performed at Omaha Symphony Hall. Matt learns that the Death Concerto is Jake’s 3rd piano concerto, it is in the key of D major, and it had its first performance one year-to-the-day after Jake witnessed the murder of his parents and younger brother. This leads Matt to articles about the murders themselves. It was an open and shut case and the killer is currently rotting in jail. After the concerto's premiere performance in 2005, Jake and the New York Philharmonic went on a year-long a world tour with it. He begins to understand Nathan Silver's motivation.

Just as he reaches for his phone to call Jake, it rings with Jake’s name. Matt takes a deep breath to settle himself before answering. “Hi Jake, glad you called.”

“Hey Matt,” Jake says. He sounds out of breath. “Got your voicemail. I’ve got a bit more art direction to take care of but I should have an hour for lunch at about 12…40. Listen, are you busy tonight?”

Matt isn’t sure how to answer, “Well-

Fortunately, Jake interrupts him, “Because I’d really like you to come to the concert. I think you’d like it. Also, there are quite a few empty seats and I like to fill as many as possible.”

“What time is it?” Matt asks.

“The baton drops at 7:30 and it should be over by 9,” Jake says.

That leaves plenty of time to track down those gunrunners. “I’ll be there,” Matt says. “And I’ll meet you in front of David Geffen Hall at 12:40.”

"Shit!" Jake shouts and Matt hears something crash. Jake says, “Maybe more like 12:43.”

**Notes for the Chapter:**

> Thanks for kudos, comments, personal questions, and reassurances.


	14. Lunch Break

**Summary for the Chapter:**

> Sandwiches!

Remarkably enough, Jake bursts out of the entrance to David Geffin Hall at 12:43. “There’s an excellent sandwich place across the street that has a killer Reuben,” he says.

“I’m more partial to Cuban sandwiches, actually,” Matt says.

“Well, they have that, too. I mean I assume they do. I only get the Reuben but I hear that Cuban sandwiches are also popular. Too much ham for my diet,” Jake says as he starts toward the crosswalk.

"Health reasons?,” Matt asks. 

“No. I keep kosher-style,” Jake explains.

“Ok,” Matt says, “I know what kosher is but what is kosher-style?” Matt asks, genuinely curious.

Jake chuckles, “Kosher-style is pretending to keep kosher. Like, I don’t eat pork but I still mix milk and meat because cheeseburgers are delicious.”

“But no bacon cheeseburgers,” Matt says.

“Exactly,” Jake says. “See, as Jew, I’m obligated to feel a certain amount of guilt, but not too much guilt. In this day and age, in a world of bacon cheeseburgers, by choosing not to eat the bacon I can feel less guilty about that beef and cheese.”

"That's a interesting perspective on guilt," Matt says.

"Not exactly the way Catholics do it, am I right?" Jake lightly jabs Matt in the side with his elbow.

"How did you know I was Catholic?" Matt asks.

"I can spot you guys a mile away," Jake explains, "It's a gift."

When they get to the door of the sandwich shop, Jake pulls something out of his coat pocket and pushes it into Matt’s free hand. “Here,” he says. It’s a braille menu because of course it is.

**Notes for the Chapter:**

> Thanks for comments, kudos, etc.


	15. Strategy Session

**Notes for the Chapter:**

> I had a really weird Yom Kippur. Looking forward to Sukkot.

“So,” Matt says after they placed their orders and sat down at a booth. “Here’s the good news. The board doesn’t have a real case against you. We can reasonably argue that Jeremy’s death makes the contract invalid and therefore, a breach impossible.”

“But if the contract is invalid, then I’m still out of a job,” Jake says, clearly confused.

“Yes, but then we’ll have a leg to stand on when it comes to the contract reformation,” Matt says.

“Is that anything like the Protestant Reformation?” Jake asks in jest.

Matt grins and says, “It’s a lot less bloody. Mr. Silver told me that he wants what’s best for you. I think what he really wants is another Death Concerto. And the violin.”

The telltale rubbing of palm against skin returns and Jake sighs deeply, “I wish people would stop calling it that,” He whispers.

“To be fair, Piano Concerto number 3 in D minor sounds a lot less tragic,” Matt says, hoping to get a laugh.

Jake doesn’t laugh. Instead he asks, “Have you listened to it?” He has moved from rubbing the back of his neck to twisting up a paper napkin.

“No, not yet,” Matt says.

“It’s not about death,” Jake says. “I was just…I was in a very specific frame of mind when I wrote it.”

“I understand,” Matt says. “Do you think you’ll be able to fulfill the contract’s creative obligations, the compositions that were commissioned?”

“It's still in the early stages but I am working on a symphony,” Jake says.

“Good. And what’s their primary concern with the musical direction you’ve taken since the accident?” Matt asks.

“They think there’s too much Beethoven in the program. Which is completely ridiculous,” Jake says, his voice rising in volume at the end of the sentence.

“Why is that?” Matt asks.

“Because there’s no such thing as too much Beethoven!” Jake declares.

**Notes for the Chapter:**

> As always, thanks for kudos and comments. No one likes writing in a vacuum except for astronaut novelists.


	16. Roll Over Beethoven

**Summary for the Chapter:**

> Just two guys eating sandwiches and stuff.

**Notes for the Chapter:**

> In case you were wondering what the "average" amount of Beethoven in the New York Philharmonic is, their 2016-2017 season featured only his piano concerto cycle.

Jake does not eat his sandwich. He picks it up, gestures with it, pretends to take a bite, pretends to talk with food in his mouth, and then puts the sandwich back down. Matt chooses not to say anything about it.

“There is something else I’d like to address sooner rather than later,” Matt says.

Jake pretends to swallow and says, “What’s that?”

Matt thinks about the best way to phrase this and settles on, “It’s about your self-medication.”

Jake nods and says, “No smoking or drinking the morning of. Got it.”

“Preferably none the night before either. I know you may feel more anxious but you do _not_ want to be called out for being high or drunk in the middle of a deposition. I’ve seen it happen and it isn’t pretty,” Matt says.

Jake pretends to eat some more. Wipes his hands on his napkin and says, “Noted. So, do you think Nate will ask me personal questions? Stuff about Jeremy? To trip me up or whatever.”

Matt nods, “Possibly. But I’ll be there to steer him back into questions directly pertaining to this dispute. Now, I imagine one of the board's justifications for taking the violin, in addition to restitution for money lost, is that you can’t play it.”

“I can play the violin!” Jake says. “Not very well but I can play it.”

“They’ll argue that it should be played in public, not shut away in box in the back of your office,” Matt says. “I’ll argue against that obviously, but you should know that it’s going to come up and be prepared for it. Now when you say too much Beethoven-“

“There’s no such thing!” Jake repeats himself.

“Setting aside the question of whether there exists such a thing as too much Beethoven, what would you say is the percentage of Beethoven to non-Beethoven music in the upcoming season?” Matt asks.

Jake begins to rub the back of his neck, “I’m not very good with numbers,” he says.

“Ok,” Matt says and rephrases the question, “So would you say less than half, about half, or more than half of the season is Beethoven?”

Jake doesn’t hesitate. “More than half,” he says and nods with his head and shoulders.

Matt nods as well and says, “That’s going to make it very difficult push back on their claim that that your programming isn't ‘innovative and boundary-pushing’.”

“Beethoven’s music exists outside of time and history forms around it. It will always be innovative and boundary pushing,” Jake says.

Matt ponders that notion, sensing that it might lead somewhere if this thing actually went to trial. Then, he says, “Would you be willing to cut that number down in order to stay on as musical director?”

Jake weighs the question for a moment before saying, “I could do a season that was 49 percent Beethoven. That’s as low as I can go.”

“Great,” Matt says. The server comes to take their plates away and Jake doesn’t ask for a to-go box. The server must be familiar with Jake’s non-eating habits because he doesn't say a word about the uneaten sandwich, either.

**Notes for the Chapter:**

> Thanks for kudos, comments, holiday well-wishes, and just being you!


	17. Overtures

**Summary for the Chapter:**

> Prelude to the concert!

**Notes for the Chapter:**

> Been awhile. Real life. Death. Y'know.

When he gets back to the office, Matt starts putting together proposals for a contract reformation, hypothesizing as many possible lines of questioning Nathan Silver might pursue and Jake’s possible answers, and debating whether he should change his suit for the concert tonight. Surely a business suit is acceptable attire for a classical music event. The real question is tie or no tie? He settles on tie.

Matt makes sure to arrive extra early so he can be escorted to his seat before there are too many legs to avoid with his cane. He is assured by the usher that he is sitting in one of the best seats, acoustically speaking, which is a lie whether the usher knows it or not. The usher hands him a program and at this point Matt would have been surprised if it _wasn't_ in Braille.

“There’s instructions on the front,” The usher explains needlessly.

_As part of my efforts to re-contextualize Beethoven’s music in this coming season, I have added a visual component to this performance of his 3rd symphony in E flat major, the Eroica. This component functions on the reveal of an artist’s rendering of two very important and prominent New York personalities and I have attempted to create the reveal for you with this program. Their names are written at the bottom of the last page. I encourage you to wait until sometime during the 4th movement to read them. You’ll know when._

Matt thinks about flipping to the last page but decides against it. He begins to listen in to whatever drama is going on in the rehearsal room but is distracted by several young voices, along with the tell-tale tapping of child-size walking canes headed in his direction. Oh God.

“It’s about the Avengers, I’m telling you! Eroica. Get it?” one boy says.

“David that’s ridiculous. Mr. Epstein is way too subtle for that,” a girl says.

“It doesn’t matter what Mr. Epstein says it’s about,” says a second boy. “It will always be about-“ the boy cuts off when his cane hits Matt’s foot. “That’s not your seat.”

“Are you talking to me?” Matt asks.

“Yeah,” the boy says. He hits Matt’s leg hard with his cane, “That’s someone else’s seat.”

“This is where the usher sat me so you’ll have to take it up with him,” Matt says.

**Notes for the Chapter:**

> Dear readers,  
> Thanks for reading.  
> Sincerely,  
> Me


	18. Allegro

**Summary for the Chapter:**

> Nothing more engaging than pre-symphony chit-chat with people 20 years younger than you who know more about music than you do.

The boy huffs and puffs a few times before growling, “Fine!” and he sits down heavily in his own seat.

Matt gives him a few minutes to calm down before asking, “So what is it really about?“

The boy, still somewhat distracted by his anger asks, “What?”

“The symphony, Eroica,”Matt clarifies, “he says it’s about the Avengers but you don’t think so.”

The boy straightens up in his seat to explain, “It’s right there in the title, not _Eroica_ , the original title: _Bonaparte_.”

“Bonaparte? As in Napoleon?” Matt asks.

The girl speaks up, “It’s not about Napoleon either. It’s not even about heroism like Mr. Epstein thinks. It’s about Beethoven. Obviously.”

Matt is thoroughly confused, “How can one symphony be about so many different people?”

“It’s art,” David, the first boy, says. “It’s about whatever you want it to be about.”

“No, it isn’t!” The second boy is furious again. “The artist’s perspective is the only thing that matters!”

The girl groans, “Seriously Ryan? Could you be any more postmodern?” she asks.

“There’s nothing wrong with postmodernism!’ Ryan begins a tirade that Matt tunes out so he can read the program. Hopefully it will be more enlightening than three tween-agers.

_“Oh ye men who think or say that I am malevolent, stubborn, misanthropic, how greatly do you wrong me,” so begins Beethoven’s letter to mankind, a will and testament written in 1802, in which he admits to the world that he is going deaf. In this document, which remained hidden in a desk drawer until after his death, the composer pours out his soul, confessing to the physical, emotional, and psychological toll this malady had on him. He admits to having considered suicide and that the only thing which stayed his hand was his art. It was in this letter that he committed to “bringing forth all that I felt was within me.”_  
_Shortly after writing this not-suicide note, Beethoven began work on a symphony that has come to be regarded as one of the greatest symphonies ever written. Originally inspired by and dedicated to Napoleon, it was later re-titled Eroica. There are still obvious nods to the general, most blatant is the extra French horn, but this symphony is about more than just a man. It is about an idea: Heroism._

**Notes for the Chapter:**

> Thanks for kudos and comments and new readers and such. Donate to AO3!


	19. Marcia Funebre

**Summary for the Chapter:**

> It's more an expression of feelings than a chapter.

**Notes for the Chapter:**

> don't do drugs kids.

Matt’s experience listening to the first movement for a second time is distinctly different from when he listened to it two days earlier. He realizes that it’s not that the musicians were playing badly the first time and it’s not that he didn’t like the music, exactly. What he disliked was the way the music toyed with his emotions. The epiphany comes about ten minutes in, during a sequence when the orchestra goes through a succession of descending minor chords. This was the moment when he had decided to quit eavesdropping on the rehearsal. It only lasts about 30 seconds but with each new chord, Matt feels a rising sense of anxiety until, finally, the trumpets blast a major chord and he sighs at the release of tension which had been building between his ears. The sense of relief is not unlike how he feels after beating the shit out of some criminal, albeit it milder and without all the blood.

After this, Matt becomes torn between whether focusing on his hearing or on what he can “see,” which is Jake, completely dynamic with his arms slicing through the air as he manages to direct each individual member of the orchestra and all of them at once. Occasionally, he stamps his left foot in time with the beat and even makes brief, punctuative vocalizations. It goes on for almost too long.

During the break between movements, Matt reads the next section of the program.

_Marcia Funebre is the title of the second movement. The words mean “funeral march” and it is exactly that. This is the first time death has been introduced in a symphony and it begs the question: who has died? The harmonic instability of the first movement, which may have left you on edge at moments, is gone now. But Beethoven is not done toying with your emotions yet._

Matt is almost moved to tears during the second movement when he notices that everyone in the room has synchronized their breathing with the orchestra. He briefly flashes back to that time he dropped acid in college. When the music comes to a somber close, Matt again breathes a sigh of relief. He spends the next break between movements trying to figure out what Jake wants tell him with this symphony.

**Notes for the Chapter:**

> Thanks for reading, y'all. Fundraising is still going on so remember to tip your server.


	20. Scherzo and Finale

**Summary for the Chapter:**

> The symphony concludes.

**Notes for the Chapter:**

> Long wait I know but I had to get this just right. Also seasonal affective disorder is hitting me hard this year. Don't forget to get that sunlight!

Matt is shocked when he finds out what the symphony is “really about.” As the orchestra is repeating a section from the very beginning of the last movement, he hears canvas unrolling from a great height.

Matt hears several members of the audience gasp and more than one “holy shit,” including from all three kids seated next to him. He quickly flips to the last page of the program and runs his fingertip across the bottom.

“Holy shit,” He says. He reads the words again, just to be sure.

_Frank Castle_

_The Daredevil_

Panic flashes through Matt. He replays every interaction he has had with Jake over the last few days, searching his own memories for clues to how Jake could have learned about his night job. Did Jake know Matt had been listening in two nights earlier? And all of it begged the question: why?

Matt’s thoughts go in a circle for the rest of the finale until the last dramatic note and Ryan jumps up and shouts, “Bravo!” His two friends jump up and start applauding as do most of the audience.

Matt hears more cheers and a few boos as well. Someone in the nose-bleeds mutters, “What a bunch of bullshit. It’s just provocation for provocation’s sake.”

The words shake Matt out of his paranoia and he understands why Jake thought he would like the symphony. The odds of Jake knowing that Matt is the Daredevil are slim to none but the fact that Matt defended Frank Castle in court is a matter of public record. Jake must think that Matt thinks Frank Castle is a hero. Matt shakes his head at the irony and stands to applaud as well. 

**Notes for the Chapter:**

> I promise I won't make you read through another musical performance.


End file.
